Masks and Costumes of Purulia Chhau

Chatterjee, Deepsikha

doi:10.1353/atj.2019.0011

Cited by 3 publications

(1 citation statement)

References 2 publications

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“…Employing a meticulous analysis of the film Kahaani, this paper argues that the utilization of the sari serves as a stark departure from the customary attire of powerful women in Western cinema. Chatterjee (2019) discusses how masks and costumes are made for Purulia chhau, a type of dance, and how the dancers and mask makers try to reach new audiences. The idea of the research is to study how masks and costumes are conceived and created for Purulia chhau, and how dancers and mask makers attempt to reach new and wider audiences.…”

Section: Introductionmentioning

confidence: 99%

Costume as a Character: Communicating Through Costume in Iyobinte Pusthakam

Thulasidas,

Dhanunjay,

Ramappa

2024

ShodhKosh J. Vis. Per. Arts

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Costumes which are the distinctive style of dressing is one of the many tools the film director has to tell the story in films. Costumes can communicate the details of a character’s personality to the audience and facilitate actors transform into new and believable personalities on the screen Brownie & Graydon (2016). Costumes give a visual impact on the film audience and more than just dressing an actor, costume design extends the main themes of the film in a subtly effective way, it can progress the character in a story without dialogue, costumes may not be memorable as dance sequences or banter but it can recreate time and space. While looking deeper into the costumes of the character it might be a surprise to explore a person’s politics, education, personality, social status, hierarchy, politics, and many more about the particular role played by the character. The need for communication is for the designers to effectively design the costumes. This article explores a Semiotic Analysis of how the costumes communicate the character development progresses in the Malayalam film “IYOBINTE PUSTHAKAM” the characters “IYOB” and “COMMUNIST MAN”. Semiotic Analysis is used to analyze the costume of the characters and gives an explanation of how costume designers design costumes in films that effectively communicate the character in films.

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Section: Introductionmentioning

confidence: 99%

Costume as a Character: Communicating Through Costume in Iyobinte Pusthakam

Thulasidas,

Dhanunjay,

Ramappa

2024

ShodhKosh J. Vis. Per. Arts

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Cultural appropriation: Yours, mine, theirs or a new intercultural?

Chatterjee

2020

Studies in Costume &Amp; Performance

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This article considers how by shifting culturally anchored design materials from one context to simplistic placement in decontextualized settings, cultural appropriation takes place in costume design. Building on that, it discusses how production teams need to be cognizant of such issues in the design process given that availability of such materials has historically been possible because acquisition has often aligned with political and commercial ambitions. Reviewing scholarship on appropriation that includes performance, costume, fashion and cultural studies, it questions how designing costumes through intercultural interaction might be navigated in a globalized context, where artists are excluded through travel bans, but cultural materials are permitted free movement. The article then discusses how to create productive intercultural projects with teams willing to invest in ethical engagement. By including case studies in which such processes were less successful as well as one that indeed created new intercultural exchanges, this article is one of the first texts to address this complex issue. It intends to engender future forward thinking conversations with practitioners and researchers on the thorny but urgent issue of cultural appropriation through costume.

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Agentic Aharya: Vibrant masks from South Asia

Chatterjee

2021

Studies in Costume &Amp; Performance

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This essay foregrounds visuals of masks and costumes from Chhau and Bhaona performances from South Asia. Using a new materialist lens along with writings on ritual images, it reflects on how these masks and costumes have agency. Referred to as Aharya in the Indian context, the masks and costumes of the case studies straddle a unique position between performative objects, religious objects and everyday decorative objects. This multiple positionality endows the masks and costumes an agency that displaces the traditional subject–object binaries of actor and costume. Highlighting Aharya’s inherent affective and ritual properties and foregrounding the mask-makers’ use of local materials, centuries-old techniques and their skills and creativity to conceptualize masks that work alongside and beyond performances, the visual essay shows how these objects exceed the maker and the performer and reach wider audiences.

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Masks and Costumes of Purulia Chhau

Cited by 3 publications

References 2 publications

Costume as a Character: Communicating Through Costume in Iyobinte Pusthakam

Costume as a Character: Communicating Through Costume in Iyobinte Pusthakam

Cultural appropriation: Yours, mine, theirs or a new intercultural?

Agentic Aharya: Vibrant masks from South Asia

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